© ENB ENB 'Nutcracker' reviews Mukhamedov in reviews recent ENB reviews more Jonathan S reviews

This is the freshest Nutcracker I've seen. The designs are breathtaking from the minute the curtain opens, and the choreography is witty, intelligent and moving (the audience - adults and children alike - was fizzing with excitement and laughter all the way through). However, every time I go to write about a scene, costume or character that I liked, I have to stop myself, because this would be giving the game away - which is a huge credit to the choreography and designs.

A few general things then:

Hampson weaves the 'number' structure of the ballet so cleverly into the narrative that you hardly notice Tchaikovsky's joins - instead of thinking "ah, now it's time for the Dolls Dance/Snow Pas de Deux", you're half way through it before you realise that the music has started.

He also has a keen ear for what is dull - and gives people things to dance where other productions do lighting cues or tedious farewell scenes.

The Arabian ('Hommage à Roland Petit' it says in the programme, which is a lot classier than you get with most Nutcracker Arabians) seemed about half its usual length, thanks to choreography which is ten times more interesting than the music. Generally, both the tempi and the use of the music make you hear the whole ballet with fresh ears.

He's kept in the (gorgeous) music at the beginning of Act II where the story of the first act is retold, and made it work (thanks, in no small measure, to the wonderful Irek Mukhamedov, who is the dream cast Drosselmeyer).

Christopher Hampson, in the studio, showing how to be a
convincing Snowflake in his Nutcracker!
Photograph courtesy of the ENB Principal Daria Klimentova ©

Waltz of the Flowers looks and sounds like a waltz again (ROH please note).

THAT awful Tarantella for the boy's solo in the pas de deux has gone, replaced with the Tchaikovsky pas de deux solo, thoughtfully transposed into B major to retain Tchaikovsky's oh-so-important key structure (for those suspicicious musos out there).

Sugar Plum Fairy FINALLY looks like the solo belongs to the music, and the coda is in too.

These are details - there is much more of real interest and enjoyment in this production, but as I say, to relate this would be to spoil the fun. You have to see it for yourself. The dancing is, of course, superb.